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Come Sunday

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Omar Thomas

Omar Thomas

General Info

Year: 2018
Duration: c. 12:20
Difficulty: VI (see Ratings for explanation)
Publisher: Omar Thomas
Cost: Score and Parts (rental) - $400.00   |   Score Only (print) - $50.00


1. Testimony - 6:30
2. Shout! - 5:35


Full Score
C Piccolo
Flute I-II
Oboe I-II
Bassoon I-II
B-flat Soprano Clarinet I-II-III
B-flat Bass Clarinet
B-flat Soprano Saxophone
E-flat Alto Saxophone
B-flat Tenor Saxophone
E-flat Baritone Saxophone
B-flat Trumpet I-II-III
Horn in F I-II-III-IV
Trombone I-II
Bass Trombone
Percussion, including:

  • Bass Drum
  • Drum Set (crash cymbal, mounted tambourine, kick drum)
  • Splash Cymbals, 8 and 10 inch
  • Suspended Cymbal
  • Tambourine
  • Tom-Tom


None discovered thus far.

Program Notes

I played trombone in wind ensembles from the 4th grade through college. This experience has contributed significantly to the life I lead now. I had the pleasure of being exposed to sounds, colors, moods, rhythms, and melodies from all over the world. Curiously absent, however, was music told authentically from the African-American experience. In particular, I couldn’t understand how it was that no composer ever thought to tell the story of a black worship experience through the lens of a wind ensemble. I realize now that a big part of this was an issue of representation. One of the joys and honors of writing music for wind ensemble is that I get to write music that I wish had existed when I was playing in these groups -- music that told the story of the black experience via black composers. I am so grateful to Dr. Tony Marinello and the Illinois State University Wind Symphony for leading an incredible consortium that brought this piece to life. I can’t tell you how much I’m looking forward to hanging with Tony and the group for a week in about a month’s time!

Come Sunday is a two-movement tribute to the Hammond organ’s central role in black worship services. The first movement, Testimony, follows the Hammond organ as it readies the congregation's hearts, minds, and spirits to receive The Word via a magical union of Bach, blues, jazz, and R&B. The second movement, Shout!, is a virtuosic celebration -- the frenzied and joyous climactic moment(s) when The Spirit has taken over the service. The title is a direct nod to Duke Ellington, who held an inspired love for classical music and allowed it to influence his own work in a multitude of ways. To all the black musicians in wind ensemble who were given opportunity after opportunity to celebrate everyone else’s music but our own -- I see you and I am you. This one’s for the culture!

- Program Note by composer

Singing is a part of the African American experience in the church and has been used in church to worship, provide different forms of communication, and create a sense of relief and encouragement. Hallmarks of the church experience such as the call-and-response method and the hymn-lining traditions are rooted in the history of slaves not being able to read. Both methods featured a leader reading the scripture and then the congregation repeating the material, signifying their understanding of the information.

The services transitions from hand claps and stomps to instruments in the early twentieth century during the beginning of the gospel era. The invention of the Hammond organ changed the church service, The Hammond organ became a cheaper alternative to the pipe organ and strengthened the ability to play melodies, harmonies and rhythmic accompaniments, becoming the foundation of the church services. Come Sunday represents this church tradition through the Hammond organ's role and provides an understanding of this individualized experience.

- Program Note from Teaching Music Through Performance in Band, Vol. 12


  • National Band Association Revelli Composition Contest, 2019, winner


State Ratings

  • Musicfest Canada: B600


To submit a performance please join The Wind Repertory Project

  • University of Delaware (Newark) Wind Ensemble (Lauren Reynolds, conductor) – 19 July 2022 WASBE Conference (Prague, Czech Republic)
  • United States Marine Band (Washington, D.C.) (Jason K. Fettig, conductor) – 16 June 2022
  • Cleveland (Ohio) Youth Wind Symphony Group I (Daniel Crain, conductor) – 1 May 2022
  • Middle Tennessee State University (Murfreesboro) Wind Ensemble (Denny Hawkins, conductor) – 21 April 2022
  • University of Minnesota (Minneapolis) Wind Ensemble (Emily Threinen, conductor) – 6 April 2022
  • University of Central Oklahoma (Edmond) Wind Symphony (Brian Lamb, conductor) – 2 April 2022 (CBDNA 2022 Southwestern Conference, Waco, Tx.)
  • University of Southern California (Los Angeles) Thornton Winds (Sharon Lavery, conductor) – 1 April 2022
  • University of Cincinnati College-Conservatory of Music Wind Symphony (Brendan Boyle, conductor) – 25 March 2022
  • University of Oklahoma (Norman) Wind Symphony (Shanti Simon, conductor) – 9 March 2022
  • Southeastern Louisiana University (Hammond) Wind Symphony (Robert M. Schwartz, conductor) – 7 March 2022
  • The Naperville (Ill.) Winds (Sean Kelley, conductor) – 24 February 2022
  • Peabody Institute (Baltimore, Md.) Wind Ensemble (Harlan Parker, conductor) – 18 February 2022 (CBDNA 2022 Eastern Conference, Baltimore, Md.)
  • Dallas (Tx.) Winds (Jerry Junkin, conductor) – 16 December 2021 (2021 Midwest Clinic)
  • World Youth Wind Symphony (Interlochen, Mich.) (Stephen G. Peterson, conductor) – 31 July 2021
  • Florida State University (Tallahassee) Wind Ensemble (Patrick Dunnigan, conductor) – 13 April 2021
  • University of Central Florida (Orlando) Wind Ensemble (Scott Luberoff, conductor) – 8 April 2021
  • Luther College (Decorah, Ia.) Concert Band (Cory Near, conductor) – 21 March 2021
  • Winds of the Houston (Tx.) Symphony (Steven Reineke, conductor) – 20 March 2021
  • Illinois State University (Normal) Symphonic Winds (Anthony Marinello, III, conductor) – 15 November 2018 *Premiere Performance*

Works for Winds by This Composer

Adaptable Music

All Wind Works